Landscape Painting - late Chosun Period
(1392-1910)

Foreign influence

The history of Korean painting stretches back to the early
murals painted on the walls of tombs during the fourth century, and continues to
the present, in which a great number of Korean artists keep the styles and forms of
the traditional artists alive, blend the traditional styles with modern motifs,
or paint in a completely modern style. Just as today, painters from many
countries study abroad to learn the styles of other countries master's or their
traditions, so did the early Korean painters travel abroad to study the works of
those that were considered the masters. In the fourth century, China was
considered, both by itself, as well as by many Asian countries under its
influence, to be the center of the universe. As such, many Korean painters were
sent to China to learn modern Chinese painting styles. What they learned,
influenced not only the paintings of Korea, but also the art of Japan, as many
Korean artisans migrated to Japan.

Three Kingdoms Period

The Three Kingdoms period in Korea consisted of the separate
kingdoms of Shilla (37 B.C. -
668)(see a graphical display of the
Korean, Japanese and Chinese timelines here), which absorbed the other two kingdoms and became
Unified Shilla by 668, the Paekje Kingdom, which began in 18 B.C. and lasted
until it was absorbed by the Unified Shilla Kingdom in 663,
and the Koguryo kingdom which lasted from 37 B.C. until its unification with
Shilla in 668. Each of the three kingdoms had its own unique painting style,
each of which was influenced by a geographical region in China with which that
kingdom had relations. Early Shilla paintings, while said to be
inferior in technique to those of Koguryo and Paekche, tended to be more
fanciful and free-spirited. Some of them could almost be considered
impressionistic. Paekche paintings did not lean toward realism
and were more stylized in an elegant free-flowing style. In marked contrast to
the paintings of Shilla and Paekche, the paintings of Koguryo were dynamic and
active and often showed scenes of tigers fleeing archers on horseback. Following
the assimilation of Paekche and Koguryo into the Unified Shilla Kingdom, the
three uniquely different painting styles grew into one and were further
influenced by continued contact with China by the Shilla state.

Koryo

The Koryo period (918-1392) was marked by a proliferation of painters as
many aristocrats and began painting for the intellectual stimulation, and the
flourishing of Buddhism, just as it had created a need for celadon wares for
religious ceremonies, likewise created a need for paintings with Buddhist motifs. Though
elegant and refined, the Buddhist paintings of the Koryo period could also be
considered gaudy by today's standards. Another trend which has its roots in the
Koryo era was the practice of painting scenes based on their actual appearance
which would later become common during the Chosun period.

Chosun

The Chosun period (1392-1910) is marked by a great number of changes that
occurred in Korean painting. The decline of the strong Buddhist culture which
helped lead to a reduction in quality celadon products, also helped to move Korean
painting away from its emphasis on religious motifs. At the same time, Korean artists continued to be influenced by
the painters of China but were able to transcend the Chinese mold, and develop a stronger sense of
native Korean painting. This stronger sense, of their native land, was further
strengthened by the Silhak, or
practical learning movement, which emphasized understanding based on
actual observance. Korean paintings began to be based on actual scenes of the
Korean countryside or Korean people engaged in common activities. The uniquely Korean flavor of painting also could be seen in
the stylized depiction of animals, and plants..

Colonial Period

The Japanese colonial period (1910-1945) nearly wiped out the tradition of
Korean painting. During this time, many things Korean were
suppressed, such as the language, in an attempt to assimilate the Koreans into
the Japanese culture. Korean painting culture was likewise suppressed by
the Japanese in favor of Western or Chinese styles - both of which had been
adopted by the Japanese. After Korea's liberation from Japan in 1945, Korea's
painting tradition was revived by a number of Korean artisans in the same way the
art of making celadon was revived.

Categorizing the large numbers of Korean painting styles could
be a daunting task and would require a work of greater scope than this article, but in
general, Korean paintings can be broken down into the following, periods or categories.

Paintings from the three kingdoms period include the energetic style of the
Koguryo, the elegant paintings of Paekche, and the fanciful lines of the the
Shilla works. A great number of the paintings during the Koryo period were of the religious
variety due to the powerful influence of Buddhism at that time. Also, during
this period, the idea of paintings based on actual scenery or scenes rather than stylized
ideas began to increase in popularity.

The paintings of the Chosun era offer the richest variety and
are the styles most imitated today. While some of these types of paintings did
exist in the earlier three kingdoms, and Koryo periods, it was during the Chosun
period that they came into their own. The paintings of the Chosun period can be broken down into
five categories: landscape paintings, genre, Minhwa, the Four Gracious
Plants, and portraits.

Landscape

Often called the realistic landscape school, the practice of
painting landscapes based on actual scenes became more popular during the mid-Chosun
period. During this time, many painters traveled the countryside in search of
beautiful scenery to paint.

Genre

At the same time as the interest in realistic landscapes surged,
so did the practice of painting the realistic scenes of ordinary people doing
ordinary things. Genre painting, as this has come to be called, is the most
uniquely Korean of all the painting styles and gives us a historic look into the
daily lives of the people of the Chosun period. Some of the most notable of the
genre painters were Kim Hong-do (1745-1818?) who left a large collection
of paintings portraying many different scenes from Korea's past in vivid colors (see
some of his paintings here). Another of the great genre painters was Shin
Yun-bok (1758-?), who's paintings of often risque scenes were both romantic
and sensual (see some
of his paintings here).

Minhwa

Minhwa, or folk paintings are by far the most interesting
of the traditional Korean paintings. The characteristics of Minhwa
paintings are that they were all painted by unknown artists, and all were painted
near the end of, or after the Chosun period. Though many of them appear rather
childish, and unrefined, quite a number display great painting skill.
Under the Minhwa category of paintings are many sub-categories. In brief they are:

Landscape Paintings - Some of the most common of the Minhwa genre,
Minhwa landscape paintings can follow any of the traditional styles from
the earlier periods.Magpies and Tigers - One of the most popular themes next to
landscapes, the tigers are usually depicted in a comical manner and are shown
with a magpie squawking at them from a tree - the magpie is considered a carrier
of good news.Flowers and Birds - Paintings with flowers are usually quite
colorful while those that depict animals generally show animals in pairs with the
Sun, or Moon. These motifs can be seen on some modern celadon, lacquered boxes,
and music boxes as well.Peonies - The peony symbolizes wealth, honors and high social
position and is used extensively in Minhwa paintings as well as in
celadon.Lotus Flowers - Though it originally represented the Sun and the
mercy of Buddha, in Minhwa paintings it has come to represent high government
officials.The Ten Longevity Symbols - The symbols are the Sun, clouds,
mountains, rocks, water, cranes, deer, turtles, pine trees, and mushrooms. These
symbols can be found in many Minhwa paintings and also on modern
lacquered boxes and celadon designs.Dragons - The dragon can represent a variety of meanings
including repelling evil spirits and bringing rain.Paintings of Tiger Hide - As the cost of real tiger hides was
prohibitive, paintings that resembled tiger skin were used to provoke the
tigers' power as a guardian.Fish and Crabs - Usually appear in pairs kissing or otherwise
being amorous.Manchurian Hunting Scenes - Used as a sign of bravery these
paintings often decorated military quarters.One Hundred Children - Representing the 100 children from heaven
they reflect a wish for many, healthy descendants.Paintings of the Life Cycle - Used primarily to depict the life
of a scholar-official.Bookcases and Scholars' Rooms - Similar to a Western still-life,
these paintings showed the accoutrements of a scholar.Shamanistic Deities - These paintings usually showed shamanistic
rites or deities.

The Four Gracious Plants, alternately called
the Four Gentlemanly Plants, or the Four Seasons symbols, consist of plum
blossoms, orchids or wild orchids, chrysanthemums, and bamboo. They were
originally Confucian symbols for the four qualities of a learned man, but are
now more commonly associated with
the four seasons. They are plum blossoms which represented courage, the
orchid stood for refinement, the chrysanthemum was a sign of a productive, and
fruitful life, and bamboo represented integrity. In modern times, the four have
come to be associated with the seasons as well; plums blossoms bravely bloom in
the cold of an early spring, orchids disseminate a dim fragrance far in the heat
of summer, chrysanthemums overcome the first cold of a late fall and bloom, and
bamboo bares its green leaves even in the winter.

Portraits

Portraits were painted throughout Korean history but were
produced in greater numbers during the Chosun period. The main subjects of the
portraits were kings, meritorious subjects, elderly officials, literati or
aristocrats, women, and Buddhist monks.

Korean-Arts' collection of paintings are all
hand painted by Korean artisans and represent the rich traditions of landscape,
genre, Minhwa, and the Four Gracious Plants.
All our works are painted on hanging silk
scrolls, and feature the painting centered
on a patterned background which has a small wood dowel at the top with a hook
for hanging, and a dowel at the bottom to keep the scroll hanging true.
Many of our paintings are reproductions such
as the Minhwa tiger found on this
page. While others are unique works that follow the traditions of landscape,
genre, Minhwa, or the Four Gracious Plants paintings discussed above.